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    Chai Guys Portobello cafe interior evokes “the colour of spices”

    Local studio SODA has used warm colours and natural materials to create the first store for tea brand Chai Guys on Portobello Road in London’s Notting Hill neighbourhood.

    The studio drew on the “informal nature” of drinking masala chai tea when designing the interior for the cafe – the first one for the Chai Guys brand, which has previously operated from market stalls.
    The Chai Guys cafe is located on Portobello Road in London”We wanted to keep true to the informal nature of drinking chai by creating a grounded space with low-level seating where there is always room for one more by pulling up a stool,” SODA interior designer Matilde Menezes told Dezeen.
    “The counter was kept quite low, too, to showcase the act of serving chai, which is quite theatrical.”
    The interior has plaster walls and boucle seatsThe Chai Guys Portobello cafe comprises a seating area and a front-of-house desk where the tea is prepared, as well as a bakery at the back that sells pastries.

    As many of the visitors will be getting takeaway drinks, Menezes says she wanted to provide “an impactful impression that was simple and subtle at the same time”.
    Timber panelling clads part of the wallsThe studio also aimed for the 55-square-metre space to be a peaceful refuge from hectic Portobello Road and to reference the Chai Guys branding.
    “The brand is a modern take on chai with its black dynamic typography layered over clean and minimal design,” Menezes explained.

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    “We wanted the colour palette to sit back and let the branding and product be the main event in moments such as the counter, the shopfront, and the retail shelving,” she added.
    “In areas where the branding wasn’t present, we wanted the palette to evoke the colours of the spices and standalone as a direct but understated reference to chai.”
    SODA used natural materials like leather and wood for the cafeThe studio chose to work mainly with natural materials for the interior, which features walls in Clayworks plaster.
    “Clayworks is non-toxic, has low embodied energy and carbon, is breathable, passively regulates humidity and is produced in the UK,” Menezes said.
    “On top of this, the handmade quality of each stroke and lived-in quality complemented the aesthetic we were trying to achieve.”
    A counter serves Chai tea and pastriesSODA also clad the walls in timber panelling and chose boucle and leather for the seating, adding to the store’s tactile feel.
    “Timber has its innate grain and richness, leather ages and provides sheen and the boucle appeals to the touch and is quite striking in the Masala tone,”  Menezes said.
    “All these tactile touchpoints were selected to be resilient in a high-traffic commercial space.”
    Other recent projects by SODA, which was founded by Laura Sanjuan and Russell Potter in 2012, include a colourful interior for The Office Group and a theatre with a revolving auditorium.

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    Ivy Studio installs colourful marble in Montreal’s Hayat restaurant

    Montreal-based Ivy Studio has chosen a variety of dramatic marble to outfit a Middle Eastern restaurant, which features a colour palette influenced by “the earthy tones of the Syrian deserts”.

    In Montreal’s Old Port neighbourhood, the 1,500-square-foot (140-square metre) Hayat restaurant is designed to reflect the cuisine served by chef Joseph Awad.
    The marble host stand at Hayat sets the tone for the restaurant’s Middle Eastern-influenced colour palette”This Middle Eastern restaurant’s colour palette was inspired by the earthy tones of the Syrian deserts and their surrounding greenery,” said Ivy Studio.
    Upon entering is a screen of black hammered-glass panels, which also conceals the kitchen in the far corner.
    In the main dining space, banquette seating runs along two walls below a fabric ceiling installationIn the main dining room, built-in benches form an L along two walls, while a pair of U-shaped booths sit against another that arches over them.

    The seat backs are upholstered in mauve velvet and the cushions are wrapped in contrasting deep green leather.
    Private booths are positioned below an arched ceiling and behind a partition of black hammered glassCloser to the kitchen is another small, semi-circular booth built into the walnut millwork.
    Here the cushioned seats are covered in ruby-toned velvet, and a metallic light fixture is suspended above.
    The bar is made from a dramatic marble variety with streaks of teal, pistachio and cream coloursIvy Studio selected a wide variety of striking, richly veined marbles, “each contributing their own touch of colour into the space” according to the team.
    The bar is made from a dramatic stone with teal, cream and pistachio striations, while the host stand and dining table tops in the main area are purple and white.
    A red-hued semicircular booth is tucked into the walnut millwork close to the kitchenThe building’s exposed brickwork is painted cream to match the other walls, while the original historic stone between the large windows is left exposed.
    “The ancient stone walls at the front and rear facades were left intact to showcase the building’s history,” Ivy Studio said.

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    Curved layers across the ceiling, which hide indirect lighting, are designed to evoke the smooth landscapes of the Middle East.
    A fabric installation suspended above the dining tables curves around more strips of lighting, diffusing the light to create a warm glow.
    The bar is made from a dramatic marble variety with streaks of teal, pistachio and cream coloursWalnut, stone and cream walls are also found in the bathrooms, which echo the colour and material scheme throughout the restaurant.
    “The overall intention of the palette was to bring together the worlds of Middle Eastern nature and Old Montreal construction,” the studio said.
    The same material palette continues in the moody bathroomsIvy Studio has completed several interiors across Montreal that include colourful marble.
    These include the Italian restaurant Piatti where the dark green stone contrasts the building’s rough walls and co-working office Spatial where purple surfaces pop against mint green millwork.
    The photography is by Alex Lesage.
    Project credits:
    Architecture and design: Ivy StudioConstruction: Groupe Manovra

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    Brasserie des Pres draws on the vibrant history of Paris’s Latin Quarter

    The storied location of this brasserie in Paris inspired interior studio B3 Designers to fill the restaurant with tasselled chairs, disco balls and other flamboyant decor.

    Brasserie des Pres is set in Paris’s Latin Quarter, which was a hub of creativity throughout the 19th and 20th centuries, its cafes filled with artists, publishers and prominent writers including Ernest Hemingway and Jean-Paul Sartre.
    Brasserie des Pres’s ground-floor dining space features red-panelled walls with decorative tilingLondon-based studio B3 Designers aimed to infuse this same buzzy ambience into the quarter’s latest eatery, undeterred by its awkwardly narrow interiors.
    “Brasserie des Pres has a very unique floor print and we’ve used the existing architecture to create layers of dining experiences,” the studio said. “We’ve created a feeling of community and delight, a welcoming backdrop to the great food served here.”
    Built-in shelving transforms walls on the first floor into a cabinet of curiositiesLush with greenery, the exterior of the restaurant features a striped orange awning and classic Parisian terrace seating.

    Once guests step inside, they find themselves in a large dining room with red-panelled walls, inset with mirrored shelves that display an assortment of shapely glass vessels.
    Decorative tiles depicting limes, lemons and oranges are incorporated at the top of each panel.
    Guests can also relax in the top-floor lounge, which houses a rich selection of vinyl recordsTables throughout the room are dressed with white linen cloths and bijou brass lamps, nodding to the table set-up of the Latin Quarter’s traditional eateries.
    Guests also have the option to sit at a high marble counter that directly overlooks Brasserie des Pres’s bustling kitchen or enjoy a drink at the bar, which is fronted by velvet-lined orange stools.

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    More dining space is provided on the first floor, where the shelves along the walls are filled with antique books and candelabras to mimic the worldly look of a cabinet of curiosities.
    Finally, on the top floor of the restaurant is a lounge-style space where guests can relax while selecting tracks from the brasserie’s vinyl record library.
    A crimson-red bar hides behind a curtained doorwayA curtained partition can be drawn back to reveal a secret bar, complete with a mirrored ceiling. From its centre hangs a cluster of disco balls, enclosed by a circular neon sign that spells the word groovy.
    A plush, crimson banquet winds around the periphery of the space, accompanied by matching tassel-backed chairs and marble tables.
    Even the toilets at this level are finished with eccentric details including a pearl-laden chandelier that droops above the washbasin  and surreal gold-framed paintings that depict the eyes of “unsung Parisian anti-heroes”, according to B3 Designers.
    Surreal paintings and a pearl chandelier appear in the bathroomParis’s rich culinary scene is constantly expanding.
    Other spots that have recently opened up around the city include Citrons et Huîtres, an oyster bar that’s designed to resemble a fishmonger, and Chinese restaurant Bao Express, which has a retro interior informed by Hong Kong diners of the 1970s.
    The photography is by Vincent Remy and Joann Pai.

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    Crosby Studios looks to the “signature red” of David Lynch for Silencio New York

    New York-based Crosby Studios has utilised gold accents and rich-red fabrics and lights informed by director David Lynch for the interiors of Silencio nightclub in Manhattan.

    Silencio NYC is located between Times Square and Hell’s Kitchen and is the second location for the club, whose Paris flagship was designed by Lynch.
    Crosby Studios founder Harry Nuriev wanted to respect Lynch’s original design while fusing the “essence of French flair into the character of New York City,” according to the studio.
    Red carpet covers the walls and floor of Silencio NYC, while red lighting outlines the spacesEvoking the same mystery and allure as Silencio’s first Paris location, Nuriev created sumptuous interiors that are saturated with Lynch’s signature hue.
    “Being the next designer for Silencio, Harry wanted to have a dialogue with the director through the movies he grew up on,” said Crosby Studios.

    “The signature red colour of [David Lynch] was heavily used to capture the true essence of modern-day New York. Harry wanted to create a space that felt sexy and as if you were in a movie.”
    Raised private rooms are lined in gold and can be concealed by drawing red velvet curtainsThe newly opened space is situated near the former location of iconic nightclub Studio 54, which also informed the design of New York’s Silencio.
    Expected to face a strict door policy, those who make it over the threshold will experience a series of spaces where the walls and floor are covered in plush red carpet.
    Thin strips of glowing red lighting follow the outlines of the rooms, framing doorways and openings to a variety of small lounge spaces.
    Another VIP area is located behind the minimal DJ boothThese raised private areas are lined entirely in golden metal panels and surfaces including curvy built-in seating.
    “In New York, as in Paris, Silencio tunes into the ambient air,” said the club’s team. “Its agenda celebrates the moments that make the city pulse; the club becomes a nighttime landmark.”
    “Inside, you will find Silencio’s signature universe – minimal and contemporary – expertly reimagined by the aesthete Harry Nuriev,” the team added.

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    Red velvet curtains can be drawn across to conceal those desiring privacy, but when open, the gold nooks reflect the cinematic red lighting elsewhere. The same gold was used for the dance floor.
    In the main room, mirrored walls create the illusion of more space and upholstered benches allow guests to rest their feet if needed.
    A larger niche is positioned behind the minimal DJ booth, offering an area for VIPs to party during music performances from local and international talents.
    The cinematic interiors by Crosby Studios are intended to evoke the spirit of legendary NYC nightclub Studio 54Silencio also recently opened a beach house in Ibiza, and a second Paris outpost in Saint-Germain-des-Prés on the Left Bank of the Seine.
    Its original address is on Rue Montmartre in the second arrondissement of Paris and was opened in 2011 by Arnaud Frisch and Antoine Caton.
    Silencio offers a membership program for those wishing to enjoy all of its locations, and gain access to cultural offerings and events that include concerts, performances, talks, screenings, exhibitions, dinners, private tours and more.
    Silencio NYC is expected to host local and international DJs as part of its varied programming”Resolutely multidisciplinary, Silencio fosters free movement of ideas and the birth of new projects,” the club said. “Its curious and eclectic programming generates a unique energy in confidential venues.”
    Nuriev has risen to prominence through collaborations with brands like Nike and Balenciaga and has previously designed hospitality spaces such as a Moscow restaurant where gleaming sheets of pink corrugated metal contrast with rough plaster walls.
    The designer also added his “signature boldness” to his own NYC apartment, which features tiled walls, purple carpeting and leathery cabinets.
    The photography is by Pauline Shapiro.

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    Studio Paolo Ferrari designs Toronto restaurant as a “world unto itself”

    Toronto-based Studio Paolo Ferrari has created cinematic interiors for a restaurant in the city’s Downtown area, combining influences from filmmakers that range from Stanley Kubrick to Nancy Meyers.

    Unlike a typical restaurant layout, Daphne unfolds as a series of rooms with distinct identities, each borrowing references from different cinema styles.
    Daphne is laid out across several spaces, including a Great Room designed to feel like Nancy Meyers movieStudio Paolo Ferrari intended each space to offer a different experience for guests, and custom-designed all of the furniture and lighting for the restaurant to make it feel even more unique.
    “Daphne is an elevated and exceedingly creative take on the American bistro, fusing the nostalgia of New England prep with wonder and eccentricity,” said Studio Paolo Ferrari. “At once intimate and grand, eccentric and sculptural, convivial and experimental, the deeply imaginative space is reminiscent of a great residence that’s evolved over time.”
    Studio Paolo Ferrari designed custom furniture and lighting throughout the restaurantGuests arrive into an intimate space that features a transparent full-height wine cabinet, which offers glimpses of the dining area beyond.

    They then move through to the Great Room, a cavernous room framed by a dramatic vaulted ceiling and decorated in a warm neutral palette.
    The Drawing Room is fully enveloped in a burnt orange hueThrough the centre is a line of dining tables, each paired with a rounded striped sofa and two boucle-covered chairs.
    The open kitchen is fully visible through the arches on one side, while a darker, cosier dining area coloured a burnt orange hue runs along the other.
    A mirrored corridor with a hand-painted landscape mural leads to a separate bar area”The grand space is reminiscent of the warmly luxurious spirit of a Nancy Meyers film, with custom furnishings that are deeply residential in feel and varsity-inspired checkerboard tiling,” said Studio Paolo Ferrari.
    The Drawing Room beyond continues the burnt orange colour, fully enveloping the walls, ceiling and seating upholstery to create a monochromatic space.
    The mural continues across the wavy walls of the bar room and green banquette seating follow the curvesCove lighting is installed behind louvres that cover the upper walls, adding texture and shadows as well as hint of “Cape Cod Americana”.
    The bar area is reached via a long corridor that’s mirrored from floor to ceiling along one wall, and is lined with a hand-painted landscape mural across the opposite side.
    The glass bar countertop is illuminated from within, while the counter front is flutedThis verdant rural scene continues across the wavy surfaces in the bar room, above green banquettes that follow the flow of the wall.
    “Daphne is a world unto itself, awaiting discovery,” the studio said. “Stepping into the bar is almost akin to stepping into an exquisitely-designed film set.”

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    The snaking glass-topped bar counter is illuminated from within, as a nod to the bar in the fictional Overlook Hotel from Stanley Kubrick’s movie The Shining.
    The counter front is fluted in reverence to Beaux-Arts architect Henry Bacon, while reflective stainless steel across the back bar matches the circular tables and chair feet in the room.
    An adjacent dilapidated building was razed to create an expansive outdoor terraceA dilapidated building adjacent to the restaurant was demolished to make way for an expansive outdoor Garden Terrace with a dining area and bar.
    Sandwiched between two brick structures, this exterior space features comfy yellow and white-striped seating surrounded by plants, and a row of tall trees in the centre – continuing the botanical theme from inside.
    Plants behind the yellow and white-striped seating continue the botanical theme from insideA separate entrance from the street leads guests between tall columns clad in dark blue-purple iridescent tiles into the alley-like space.
    “It was important that the space had depth and a quality of experimentation,” said Paolo Ferrari, founder of his eponymous firm. “Daphne is truly an active experience of discovery, where guests can uncover thoughtful and innovative details throughout.”
    Columns of blue-purple iridescent tiles form a gateway from the street into the alley-like outdoor terraceThe designer’s earlier projects in Canada have included a lake house with wood and granite interiors, and a showroom for a development in Ottawa that appears more like a home than a sales gallery.
    Other recent additions to Toronto’s dining scene include Prime Seafood Palace, which features a vaulted-wood interior by Omar Gandhi Architect.
    The photography is by Joel Esposito.

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    Stingray-shaped roof crowns Maldives restaurant by Atelier Nomadic

    A bamboo canopy modelled on stingrays tops Overwater Restaurant, which architecture studio Atelier Nomadic has added to a lagoon in the Maldives.

    The Japanese restaurant is raised on an existing jetty that extends out from the shore and has a bamboo structure with tree-like columns to support its wavy roof.
    Drawing inspiration from the surrounding water, Atelier Nomadic designed its form to resemble the shape of pink whiprays, a species of stingray found in the lagoon.
    Atelier Nomadic has added a Japanese restaurant to a lagoon in the Maldives”Maldives is known for its spectacular underwater life,” studio creative director Olav Bruin told Dezeen.
    “We aimed to bring this sub-aquatic theme to the surface in an architectural form, without being too literal,” he continued.

    “For the main shape, we found inspiration in the pink whiprays that graze in the lagoon, as it was a convenient form to cover the open-air dining space.”
    The wavy roof is informed by a local species of stingrayAccessed beyond the long stretch of the boardwalk, the restaurant’s entrance is set under the lower and slimmer portion of the roof, which is intended to represent the tail of a stingray.
    A network of tree-like columns, which are formed from three angled lengths of bamboo, is arranged underneath the structure and extends from the entrance to the end of the jetty.
    A boardwalk provides access between the shore and the restaurant”This system allowed us to make an organic form from straight bamboo poles that provide stability to the structure in all directions,” Bruin explained.
    “By coincidence, we realised only after the structure was built that the interior space feels a bit like the mouth of a giant manta ray, with its rhythm of gills that filter plankton out of the seawater.”

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    The undulating bamboo structure of the roof sits on top of the columns, reaching its peak at a spine-like ridge. It is clad externally in timber shingles, which the studio hopes will resemble fish scales after ageing.
    “Timber shingles age gracefully and gain a grey-silverish patina over time,” said Bruin. “Together with the layered pattern, the roof will resemble the scales of a fish.”
    The structure is built from a network of bamboo columnsSet on either side of a walkway where the jetty widens are two bamboo-clad volumes, painted black, which hold the kitchen and bathrooms.
    The bar, coated in the same black bamboo, sits beyond the two blocks. It marks the transition into a large open-plan dining area filled with furnishings that match the colour of the bamboo structure.
    A lounge area sits at the end of the restaurantBeyond the covered dining space, the jetty steps down to a more casual, open seating area furnished with curved sofas and armchairs.
    At the end of the jetty is a swimming pool split across two levels, while white nets used as overwater seating areas wrap around the outer edges of the restaurant.
    The roof is clad in timber shingles intended to mimic scalesOther oceanside projects in the Maldives include a proposal for a garden-filled resort by Shigeru Ban and a complex made up of wooden villas that sit on an artificial island.
    In a recent interview with Dezeen, Atelier One engineer Chris Matthews said bamboo has the potential to be as dominant in construction as concrete and steel.
    The photography is by Joe Chua Agdeppa.
    Project credits:
    Architect: Atelier NomadicClient: Banyan TreeDesign team: Olav Bruin, with Louis Thompson, Habiba MukhtaContractor: Asali Bali

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    Zooco Estudio resurrects “vestige of the past” for brutalist restaurant

    Madrid-based Zooco Estudio has created a striking restaurant within the Cantabrian Maritime Museum in Santander, Spain, that celebrates the building’s brutalist architecture.

    The restaurant is set within a dramatic vault of concrete paraboloids that were unearthed during the renovation, while a slatted timber ceiling pays homage to the area’s shipbuilding legacy.
    Zooco Estudio added a restaurant to the second floor of the Cantabrian Maritime MuseumOverlooking the tranquil waters of Santander Bay, the restaurant is located on the second floor of the landmark Cantabrian Maritime Museum, which was designed in the mid-1970s by architects Vicente Roig Forner and Ángel Hernández Morales.
    The paraboloids were an original fixture of the structure and supported the roof of what was once the museum’s patio.
    Oak details were designed to contrast the restaurant’s concrete archesThe studio focused on restoring the historic fabric of the space and reviving the paraboloids, which had been concealed for around 20 years, as “a vestige of the past”.

    “In 2003, the building was renovated and as part of this intervention, the paraboloids were covered with a new roof and the space between them and the perimeter of the building was closed with glass, generating a covered space where there was previously a terrace,” Zooco Estudio co-founder Javier Guzmán told Dezeen.
    “We wanted the concrete paraboloids to be the absolute protagonists of the space and by removing the paint and the coating, the paraboloids are visible again and regain their full prominence.”
    The renovation exposed the raw concrete surface of the paraboloidsThe previous renovation also altered the dimensions of the space and reconfigured the volume as a square.
    To promote symmetry, four additional concrete triangles were added to balance out the original paraboloids in the brutalist restaurant.
    Slatted wooden ceiling panels bridge the gaps between the archesOverhead, a false ceiling of slatted timber panels frames the concrete arches.
    The studio designed theses triangular boards to reference the arrangement of timber across the hull of a boat, a nod to the museum and the area’s nautical past.

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    The panels also serve the purpose of concealing the restaurant’s mechanical systems.
    “The wooden slats bring warmth and friendliness to the space while allowing us to solve all the technical needs for air conditioning, heating and lighting, leaving them hidden,” Guzmán said.
    “In this way, we ensure that all these elements do not interfere with the dialogue of concrete and wood, which are presented as continuous and clean elements.”
    Walls of floor-to-ceiling glazing offer views across the bayThe interior layout was largely dictated by the low arches of the elliptic paraboloids that dominate the brutalist restaurant.
    “The geometry of the existing structure conditions the space, because its height in its lower part is impractical, so a large bench is arranged around the entire contour that allows us to take advantage of that space and organise the distribution of the rest of the floor plan,” added Guzmán.
    Grey porcelain floors mirror the concrete paraboloidsLike the ceiling panels, the interior finishes and furnishings allude to the maritime history that the building commemorates.
    “The use of wood and steel for all the furniture is reminiscent of the materials used in shipbuilding – the furniture has slight curvatures that are reminiscent of the aerodynamic shapes of boats,” explained Guzmán.
    “Likewise, the lamps are inspired by the masts for ship sails.”
    Zooco Estudio also designed the restaurant’s curved timber furnitureAnother key change was the replacement of the perimeter glass wall.
    The inclined glazing was swapped for vertical glass, a decision that reclaimed external space for the patio, which stretches the length of the restaurant and overlooks the harbour below.
    “When we are inside, the feeling is the same as when we are inside a boat, there is only water around, and that is why we used clean glass from floor to ceiling, generating a perimeter terrace as happens on boats,” said Guzmán.
    The terrace features green curvilinear outdoor furnitureOther projects by Zooco Estudio include a renovated house in Madrid and a co-working space with a kids’ play area in California.
    The photography is by David Zarzoso.
    Project credits:
    Architect: Zooco EstudioConstruction: Rotedama Constructora SLLighting: Zooco EstudioFurniture: Zooco Estudio

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    Soba restaurant Kawamichiya takes over century-old townhouse in Kyoto

    Japanese studios Td-Atelier and Endo Shorijo Design have transformed a townhouse in Kyoto into a noodle restaurant that combines traditional residential details with modern geometric interventions.

    Kawamichiya Kosho-An is an outpost of soba restaurant Kawamichiya, which can trace its history of creating dishes using buckwheat noodles back more than 300 years.
    Diners enter Kawamichiya Kosho-An via a small gardenIt occupies a 110-year-old property in the downtown Nakagyo Ward that retained several features typical of traditional Japanese houses, including a lattice-screened facade and an alcove known as a tokonoma.
    Architect Masaharu Tada and designer Shorijo Endo collaborated on the townhouse’s conversion into a 143-square-metre restaurant, restoring some of the original elements while adapting others to suit its new purpose.
    Changes in floor height delineate different dining areas”Originally it looked like a townhouse with an elaborate design, but various modifications were made for living and those designs were hidden or destroyed,” said Tada.

    “Therefore, we tried to restore the elements of the townhouse such as hidden or lost design windows and alcoves and add new geometry to them to revive them as a new store.”
    Guests can sit on floor cushions in the traditional Japanese parlourA lattice screen at the front of the building was restored to help preserve its residential aesthetic, while renovations were carried out on walls, pillars and eaves within the open-air entrance passage.
    The entryway leads to a small genkan-niwa garden, where paving stones are laid to create a path using a traditional technique known as shiki-ishi.

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    Customers enter Kawamichiya Kosho-An through a small retail area containing freestanding partitions that allow the original wooden ceiling structure to remain visible.
    Built-in bench seating is positioned along one wall and a window seat offers a view of the street outside. Customers here can eat with their shoes on, while beyond this space they are required to remove footwear as is customary when entering a Japanese house.
    Many of the building’s traditional lattice screens were retainedThe use of different materials and changes in floor height help to delineate areas within the restaurant and create a range of experiences. Guests can choose to sit on chairs in a porch-like space known as a doma or on floor cushions in the traditional Japanese parlour.
    The kitchen is positioned at the centre of the building and is set slightly lower than the surrounding floors, allowing staff working behind the counter to have a clear view of each diner.
    “We control the line of sight to the audience, the garden and the street by the height of each floor,” Tada said. “As a result, it is an original townhouse element […] and a new design that fuses old and new.”
    One of the upstairs rooms features a curved funazoko-tenjo ceilingSome of the existing features that help to preserve the building’s character include the tokonoma alcove in a room on the first floor, which also has a curved wooden ceiling known as a funazoko-tenjo.
    In Kawamichiya Kosho-An’s main dining area, a tokonoma was replaced with a low decorative shelf while the original screened window in this space was retained. Traditional wooden doors and paper shoji screens were also adapted and used to partition the space.
    The restaurant is set in a converted townhouse in KyotoTada studied at Osaka University before founding his studio in 2006. He has collaborated on several projects with Endo, who completed a master’s in plastic engineering at the Kyoto Institute of Technology before establishing his studio in 2009.
    The pair’s previous work includes the renovation of a typical machiya townhouse in Kyoto, which they modernised to better suit the living requirements of its occupants.

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